VZ5Z 


UC-NRLF 


STUDY     OUTLINE     SERIES 


STUDIES  IN 
MODERN  PLAYS 


TENTATIVE  EDITION 

Many  clubs  are  convinced  of  the  advantage 
of  studying  one  subject  thruout  the  season,  and 
for  this  work  a  carefully  prepared  program  is 
needed.  Local  or  state  committees  and  state 
library  commissions  have  spent  time  in  preparing 
outlines  which  would  be  suitable  for  use  else- 
where if  they  could  be  made  available  by  print- 
ing. It  is  proposed  in  this  series  to  centralize 
such  work  and  to  conserve  the  effort  spent  in 
making  a  good  outline  by  putting  it  in  shape  for 
distribution.  The  outlines  in  this  edition  are 
printed  as  originally  prepared  and  they  are 
experimental  rather  than  typical.  Clubs  them- 
selves by  an  actual  testing  of  the  outlines  will 
be  able  to  offer  suggestion  and  criticism  which 
will  lead  to  a  revision  of  form. 

THE  H.  W.  WILSON  COMPANY 


The  Study  Outline  and  Its  Use 


The  series  will  include  outlines  on  art,  litera- 
ture, travel,  biography,  history  and  present  day 
questions. 

The  outlines  vary  in  length.  If  more  topics 
are  given  than  the  number  of  club  meetings  for 
the  season,  those  topics  that  are  more  difficult 
to  handle  or  on  which  there  is  less  available 
material,  may  be  dropped.  If  there  are  fewer 
topics  than  the  scheduled  meetings,  certain  topics 
may  be  divided. 

Lists  of  books  are  appended  to  some  of  the 
outlines.  It  would  be  well  for  the  club  to  own 
some  of  the  recommended  books.  Others  can 
be  obtained  either  from  the  local  public  library 
or  from  the  state  traveling  library.  When  very 
full  lists  are  given  it  is  not  necessary  for  any 
club  to  use  all  the  books,  but  the  longer  list  leaves 
more  room  for  choice. 

The  best  material  on  some  subjects  may  be 
found,  not  in  books,  but  in  magazines.  These 
may  be  looked  up  under  the  subject  in  the 
Readers'  Guide  to  Periodical  Literature.  Maga- 
zine articles  and  illustrated  material  may  be  ob- 
tained from  the  Wilson  Package  Library.  For 
terms  see  fourth  page  of  cover. 

A  partial  list  of  the  study  outlines  now  in 
print  will  be  found  on  page  three  of  this  cover. 
For  latest  additions  to  the  list  write  to  publisher. 


THE  STUDY-GUIDE  SERIES 

Each  Study-Guide  contains  a  plan  of  work,  references, 
topics  for  study  with  suggestions  and  explanations,  and  crit- 
ical notes. 

The  Topics  for  Study  are  carefully  designed  to  stimulate 
interest  and  discussion  through  the  raising  of  questions  which 
readers  themselves  must  answer.  This  insures  the  keenest 
attention  in  the  use  of  books  and  prepares  students  to  appre- 
ciate the  opinions  of  instructors  or  critics  of  wider  knowledge 
than  their  own. 

A  WORD  FROM  AN  IOWA  STUDY  CLUB 

"I  think  —    club  will  enjoy  'Henry  Esmond'  by  your  outline.     We 

told  them  that  never  in  any  other  way  would  they  get  the  full  beauty  and 
meaning  of  the  story." 

A  WORD  FROM  A  NEW  YORK  STATE  CLUBWOMAN 

"You  have  opened  up  a  broad  field  of  interest  in  literary  work  and 
an  appreciation  of  artistic  unity  which  is  in  itself  a  revelation.  I  shall 
always  remember  with  gratitude  the  keen  pleasure  I  have  had  in  following 
your  interpretation  of  the  Idylls." 

The  Study  of  The  Idylls  of  the  King,  full  series,  second 

edition,  each .  .$  .50 

Price  for  use  by  students  in  clubs,  or  classes,  net,  per 
copy   40 

The  Creative  Art  of  Fiction.     Second  edition,  with  addi- 
tion of  new  matter.     Single  copies,  each 50 

Price  for  use  by  students  in   clubs,  or  classes,  net, 
each    40 

The  Study  of  Romola.    Third  edition,  single  copies,  each     .50 
Price  for  use  by   students  in  clubs,   or  classes,  net, 
each 40 

The   Study  of   Henry   Esmond.     Second   edition,    single 

copies,  each  50 

Price  for  use  by   students  in  clubs,   or  classes,   net, 
per  copy 40 

The  Study  of  the  Historical  Plays  of  Shakespeare. 
The  Study  of  Shakespeare's  King  John. 
The  Study  of  Shakespeare's  Richard  Second. 
The  Study  of  Shakespeare's  King  Henry  Fourth,  Part  i, 

and  Part  II. 

The  Study  of  Shakespeare's  King  Henry  Fifth. 
General  Introduction  printed  in  each  volume. 

Price,  single  copy,  one  play 40 

Price  single  copies  of  the  five  plays per  set  i.oo 

Special  price  in  quantity,  for  schools,  classes,  clubs. 

For  descriptive  circular  Jt  Word  to  Study  Clubs,  books,  etc., 

address 

H.  A.  DAVIDSON 

The  Study-Guide  Series,  Cambridge,  Massachusetts,  or 

H.  A.  Davidson  Claremont,  California 


STUDIES  IN  MODERN  PLAYS 


A  STUDY  OUTLINE 


H.  A.  DAVIDSON,  M.A. 


THE  H.  W.  WILSON  COMPANY 

WHITE  PLAINS.  N.  Y.,  AND  NEW  YORK  CITY 

1915 


COPYRIGHT,  1915 
BY  H.  A.  DAVIDSON,  M.A. 

ALL   RIGHTS  RESERVED 


CONTENTS  AND  DESCRIPTIVE  NOTES 

METHODS  OF  STUDY 5 

JUSTICE,  by  John  Galsworthy 7 

Galsworthy's  plays  are  remarkable  because  they  deal  with 
moral  and  social  questions  on  which  the  public  conscience  is 
keenly  alive  but  opinion  divided.  This  play  has  been  the  subject 
of  many  sermons  and  discussions  and  invites  consideration  of 
the  object  society  should  have  in  view  in  the  restraint  of 
criminals. 

MILESTONES,  by  Arnold  Bennett  and  Edward  Knob- 
lauch  ; ;.          8 

The  purpose  of  "Milestones"  is  to  give  dramatic  expression 
to  the  changes  that  take  place  in  the  passing  of  a  single  genera- 
tion. Great  changes  in  industry  and  in  society  are  shown  in  their 
effect  upon  individuals  who  pass  from  the  eager  enthusiasm  and 
loves  of  youth  to  the  conservatism  of  age  which  sees  golden  days 
only  in  the  past.  Most  skilfully  has  the  dramatist  mingled  with 
the  typical  transitions  from  youth  to  age  the  great  social  changes 
which  have  marked  the  period  from  1860  to  1912.  Dramatically, 
the  play  is  difficult  to  present  through  the  great  intervals  of 
time  supposed  to  elapse  between  the  acts ;  still,  the  transitions 
wrought  by  time,  the  repetition  of  old  situations  with  new  actors, 
as  children,  then  grandchildren,  appear  in  the  role  of  young 
lovers,  gives  a  certain  unity  to  the  play,  while  the  close  parallel 
with  the  lives  of  us  all  arouses  deep  interest. 

CHITRA,  AND  THE  PRINCESS,  by  Rabindranath  Tagore  n 

The  award  of  the  Nobel  prize  to  the  Poet  of  India  has  drawn 
universal  attention  to  his  works.  "Chitra"  is  one  of  the  most 
beautiful  of  his  narrative  poems  and  its  theme,  the  relation  of 
woman  to  the  life  of  the  world,  and  to  the  individual  man,  her 
lover,  invites  comparison  with  Tennyson's  "The  Princess,"  writ- 
ten a  full  generation  earlier.  Each  poem  presents  the  question 
of  the  higher  education  and  position  of  woman  in  the  spirit  of 
the  age  in  which  it  was  written.  "The  Princess"  is  a  prophecy, 
proclaiming  timidly  hopes  unfulfilled ;  "Chitra"  comes  after  a 
generation  of  experiment  and  fulfilment. 

THE  GREAT  DIVIDE,  by  William  Vaughn  Moody. .  .   17 

"The  Great  Divide"  had,  for  a  time,  great  success  on  the 
stage.  It  set  forth,  in  verisimilitude,  the  conditions  of  life  in 
the  great  Southwest  and  presented,  besides,  a  strong  contrast 
between  conventional  traditional  morality  and  that  righteousness 
of  the  heart  and  life  which  is  wrought  out  in  an  honest  effort 
to  redeem  the  errors  of  past  years. 

325114 


THE  FAITH  HEALER,  by  William  Vaughn  Moody. .  18 
"The  Faith  Healer"  failed  completely  on  the  stage.  The 
issues  in  it  are  too  fine,  too  spiritual  to  become  a  visible  dramatic 
reality,  but  as  a  reading  play  "The  Faith  Healer"  is  far  superior 
to  "the  Great  Divide,"  and  in  the  study  outline  here  given  an 
attempt  is  made  to  guide  readers  to  an  interpretation  of  its 
allegorical  and  spiritual  meaning. 

MARLOWE,  by  Josephine  Preston  Peabody 22 

This  play,  written  by  an  alumna  of  Radcliffe  college  and  acted 
at  the  opening  of  the  Elizabeth  Agassiz  hall  in  Cambridge  is 
considered  by  critics  the  best  interpretation  of  the  character  ot 
the  poet  Marlowe  to  be  found.  The  plot  is  slight;  the  interest 
centers  in  the  man  and  in  a  most  remarkable  and  lively  pre- 
sentation of  the  manners  and  life  of  the  age. 

THE  PIPER,  by  Josephine  Preston  Peabody 26 

This  play,  entered  without  a  name  in  the  competition  for  the 
award  of  honor  at  Stratford-on-Avon,  won  the  prize  over  many 
others.  It  was  acted  under  the  supervision  of  the  author,  first 
in  the  Shakespeare  Memorial  Theater,  Stratford,  later  in  New 
York  City.  The  charm  of  the  play  lies  in  its  delicate  poetic 
quality,  in  a  hidden  meaning  within  an  old  legend,  and  in  the 
faithful  presentation  in  setting,  atmosphere,  etc.,  of  the  super- 
stitious age  in  which  mystery  plays  were  a  familiar  entertainment. 

THE   BLUE  BIRD,  by   Maurice   Maeterlinck 29 

This  play  is  too  familiar  to  require  description.  ^  It  has  had 
the  wonderful  fortune  of  becoming  popular  as  a  fairy  play  for 
children  and  at  the  same  time  of  holding  the  attention  of  older 
theater-goers  through  a  tender  and  well-sustained  allegory.  The 
means  used  and  the  purpose  of  the  author  in  each  part  are  well 
worthy  of  careful  attention. 

HEROD,  by  Stephen  Phillips 32 

This  play  has  been  acted  with  great  success  in  America  by 
an  English  dramatic  company.  It  is  remarkable  for  dramatic 
unity,  power,  and  a  lively  suggestion  of  the  fierce  passions  of 
the  age  in  which  its  scenes  are  laid. 

THE  FIRE  BRINGER,  by  William  Vaughn  Moody. .   36 

This  play  represents  well  the  epic-dramatic  poem  in  which  the 
author  first  achieved  success.  It  is  given  here  both  for  the 
intrinsic  interest  of  subject  and  poem  and  because  readers  who 
study  only  "The  Great  Divide"  and  "The  Faith  Healer"  will 
have  a  very  incomplete  and  one-sided  impression  of  this  author. 

REFERENCE  LISTS 39 

REFERENCE  LIST  FOR  SPECIAL  PLAYS  OR  TOPICS  ...  42 


STUDIES  IN 
MODERN  PLAYS 

METHOD  OF  STUDY 


Essential  Conditions. — The  essential  conditions  of 
interest  and  success  in  the  use  of  this  Study  Outline  are, 
first,  the  ownership  of  the  books  to  be  read  with  care; 
secondly,  the  common  reading  by  all  of  the  assigned  play 
preliminary  to  the  meeting;  thirdly,  common  study 
and  preparation  of  the  Study  Outline  questions  and 
topics  for  discussion.  This  will  furnish  the  basis  for  an 
expression  of  individual  opinion  of  value  because  original 
and  formed  through  personal  consideration  of  the  topics 
presented. 

Written  Papers. — Written  papers  should  not  be  as- 
signed on  the  main  topics  for  study  which  constitute  the 
lesson  for  all,  but  only,  if  at  all,  on  side  topics  of  value 
for  illustration  or  information  in  relation  to  the  main 
study. 

Number  of  Plays. — Since  the  number  of  meetings  in 
the  year  and  the  leisure  for  reading  or  study  vary  in 
different  clubs,  a  greater  number  of  plays  are  arranged 
for  in  this  Study  Outline  than  most  clubs  will  care  to 
include  in  a  year's  program.  This  makes  it  possible  to 
select  the  plays  preferred  by  a  majority  of  the  members 
and  to  omit  others. 

Study  Topics. — It  is  important  that  each  member  of 
the  club  in  her  study  in  preparation  should  consider  the 
full  series  of  study  topics,  but  in  the  meeting  it  is  most 
important  to  give  time  to  those  on  which  differences  of 
opinion  arise.  These  may  be  selected  in  advance  and 
marked  in  the  outline ;  or,  better,  a  skilful  leader  may 
select  and  develop  these  topics  in  the  course  of  the  meet- 
ing as  the  desire  of  individuals  becomes  apparent.  The 


meeting  isf  nW^recitatioq,  but  a  place  in  which  to  com- 
plete :  a'nd]  'atfd '  to  -'  private  work  previously  done. 

'Duties  of  the  Leader  of  Discussion. — When  the  hour 
for  "Discussion  of  Study  Outline  Topics"  arrives, 
the  president,  or  preferably,  a  chosen  leader  of  discus- 
sion, should  act  as  leader,  put  questions,  call  for  opin- 
ions, etc.,  but  should  reserve  her  own  opinion  until  after 
a  full  discussion,  pro  and  con,  by  all  members  who 
wish  to  present  briefly  their  views.  The  leader  of  dis- 
cussion for  the  day  should  make  full  and  careful  prep- 
aration on  all  questions  and  topics  assigned,  as  all  others 
are  expected  to  do,  but  it  is  important  that  she  should  not 
consider  her  position  one  of  instruction;  she  must  not 
yield  to  the  temptation  to  give  information,  and  answer 
questions  instead  of  skilfully  calling  forth  the  views  and 
the  knowledge  of  others.  If,  on  rare  occasions,  a  major- 
ity of  members  present  have  bailed  to  make  preparation, 
it  is  often  wise  either  to  defer  the  lesson  until  the  next 
meeting,  or  to  turn  the  hour  for  discussion  frankly  into  a 
study  hour  in  which,  books  in  hand,  all  work  together. 
Each  member  of  the  club  should  come  to  the  meeting, 
text  and  note-book  in  hand,  with  notes,  references,  out- 
lines, ready  for  use  in  the  discussion. 

A  wise  leader  seeks  to  call  out  free  expression  on  both 
sides  of  the  question ;  but  a  long  discussion  should,  some- 
times, be  summarized  briefly,  pro  and  con.  An  important 
and  delicate  function  of  the  leader  of  discussion  is  the 
repression  of  the  too  ready  or  enthusiastic  talker,  and  the 
closing  of  the  discussion  promptly  and  firmly  when  it 
wanders  from  the  point  at  issue.  Discussion  should  be 
well  distributed  among  all  the  members  of  the  club,  and 
a  fair  hearing  should  be  given  to  dissenting  opinions. 
Differences  of  opinion  must  occur  and,  indeed,  are  the 
best  evidence  of  thoughtful  reading;  discussions  arising 
from  points  of  view  honestly  different,  are,  often,  very 
profitable,  since  those  who  speak  will  be  ready  to  fortify 
argument  with  evidence,  and  will  be  driven  from  con- 
clusions already  formed  only  by  evidence  or  argument 
more  convincing  than  their  own.  The  formation  of  an 
opinion  honestly  from  the  text  and  references  is  of  far 
greater  value  to  the  mind  than  the  giving  of  "correct 
answers." 

H.  A.  D. 


JUSTICE 
JOHN  GALSWORTHY 

1.  Preliminary.      Read    the   play    ''Justice,"    carefully 

once  or  twice. 

2.  Do  the  mitigating  circumstances  which  accompan- 

ied this  act  of  forgery  cause  you  to  believe  that 
Falder's  act  should  have  been  condoned  by  the 
proprietor  and  he  given  another  chance?  What 
would  you  have  done  ? 

NOTE.  It  is  well  to  state  a  parallel  case,  in 
order  to  test  yourself  practically  :  Imagine  Falder 
to  be  either  a  maid  servant  or  a  chauffeur  who 
has  been  in  your  employ  for  several  years ;  what 
would  you  decide  in  a  similar  case? 

3.  State  the  point   of  view  of  James   Howe,   as  you 

understand  the  man ;  make  out  as  reasonable  and 
favorable  a  position  for  him  as  you  can. 

4.  State   as   strongly    as   possible   the   basis   on   which 

Falder's  case  might  claim  leniency. 

5.  Summarize  the  trial : 

(a)  Arguments  of  prosecution;    which  is  most 

effective  ? 

(b)  Which  is  of  the  greatest  strength  from  the 

human  point  of  view  ? 

(r)  Which  looks  toward  the  welfare  of  the 
prisoner  ? 

(d)  Which  looks  toward  the  welfare  of  society? 

(e)  Arguments  of  the  defense;  on  what  did  the 

defense  rest  a  plea  for  leniency?  What 
is  the  legal  strength  or  weakness  of  this 
argument  ? 

(/)  WThat  was  the  position  of  the  judge  in  rela- 
tion to  the  arguments?  In  relation  to 
the  prisoner? 

6.  Where  is  the  climax  of  this  play?    Why? 

7.  What  is  the  purpose  of  the  representation  of  life  in 

the  prison? 


8.  What  is  the  effect  of  this  life  on  William  Falder? 

9.  When  he  is  dismissed,  practically,  wherein  lies  hope 

of  re-establishment  for  him  in  character,  in 
opportunity,  in  love,  or  friendship?  Show  in 
each,  how  the  years  in  prison  have  affected  the 
man  or  his  situation. 

10.  From  the  point  of  view  of  society,  is  William  Falder 

improved,  or  the  contrary?    Argue  the  point. 

11.  In  the  case  of  Ruth  Honeywell,  show  the  result  in 

her  life  (a)  of  Falder's  imprisonment;  (b)  of 
the  aid  and  advice  offered  her  while  Falder  was 
in  prison. 

12.  Show  the  result  of  Falder's  release,  and  of  her  meet- 

ing him  again.  Probable  result  of  his  death  on 
her  life. 

13.  Do  you  consider  individuals,  or  society  as  a  whole, 

or  the  institutions  of  justice,  most  responsible  for 
Fald'er's  fate? 

14.  Should  Falder  have  been  treated  from  the  point  of 

view  of  the  proprietor,  or  of  the  community,  or 
as  an  individual  pathological  case? 


II 

MILESTONES 
ARNOLD  BENNETT  AND  EDWARD  KNOBLAUCH 

1.  What  characteristics  of  the  times  really  determined 

the    choice    of    dates     for    the    three    acts    of 
"Milestones"? 

Act  I.     1860 

2.  Stage  setting.    Consider  the  furnishings  and  clothes 

described,  carefully,  and  point  out  what,  in  the 
setting  of  Act  I,  reveals  the  date  of  the  play. 

8 


3.  Contrast   the   older   generation   in   Act   I   with  the 

younger  generation  in  the  same  act  in  regard  to 

(a)  Superficial    appearance;    that    is,    clothes, 

manners,  relations  to  their  elders,  topics 
of  conversation,  amusements,  etc. 

(b)  In  regard  to  ambitions,  point  of  view,  plans. 

Do  you  attribute  differences  to  the  grow- 
ing old  of  the  elders,  or  to  changes  in 
prevalent  conditions  of  life,  habits  of 
thought,  etc.,  in  the  world  in  which  these 
people  live? 

4.  What  life  issues  are  determined  in  Act  I?    Person 

by  person,  show  what  the  issue  is,  how  import- 
ant, or  how  far-reaching  the  decision,  and  the 
determining  reason. 

5.  Sum  up,  or  state  briefly,  the  characteristics,  point 

of  view,  and  ideals  of  life  in  1860,  as  shown  in 
Act  I. 


Act  II.     1885 

6.  Describe  each  person  reappearing  in  Act  II,  as  he 

or  she  impressed  you  at  the  close  of  Act  I,  then 
point  out  changes  since.  Note  whether  these  are 
due  to  conditions  and  events,  or  to  changes  in  the 
person,  and  explain. 

7.  Compare  the  young  people  of  Act  II  with  those  of 

Act  I,  pairing  for  the  contrast  each  one  with  the 
one  in  Act  I  whose  age,  condition,  etc., 'is  nearest 
parallel,  then  make  a  careful  outline "  both  of 
similarities  and  differences,  under  these  general 
headings : 

(a)  The  appearance,  interest,  outlook  on  life  of 

the  individual. 

(b)  The  relation  of  each  to  his  elders,  and  the 

plans  and  ambitions  of  each ;  note  espe- 
cially the  influence  of  the  elders  in  guid- 
ing or  determining  these  plans  and 
ambitions. 


8.  Define  the  real  issues  up  for  decision  in  Act  II,  and 

show  their  importance.  Show  what  is  the  deter- 
mining factor  in  each  decision  made. 

9.  What  new  element,  or  influence,  appears  in  Act  II  ? 

Are  the  causes  determining  decisions  in  Act  II 
vitally  different  in  any  respect  from  those  work- 
ing in  Act  I  ? 

10.  Compare  the  elders  of  Act  II  with  the  elders  of  Act 

I,  and,  if  you  find  differences,  discuss  the  causes 
of  these. 

11.  Sum  up  briefly  the  characteristics  of  the  age,  define 

the  point  of  view  and  the  ideals  of  life  in  1885. 
Discuss  the  changes  in  these  since  1860,  the 
tendency  of  the  movement,  the  dangers  and  the 
possibilities  in  it. 


Ill 

MILESTONES  (Continued) 
Act  III.     1912 

12.  Describe  each  person  reappearing  in  Act  III  from 

previous  acts,  referring  to  your  undestanding  of 
the  characters  and  the  opinions  at  the  close  of 
Act  II.  Then  point  out  the  changes  in  each,  and 
discuss,  according  to  suggestions  under  previous 
topics,  whether  these  changes  are  due  to  condi- 
tions and  events,  or  to  some  process  or  habit  of 
thought  going  on  within  the  person,  and  explain, 
with  citations  in  support  of  your  opinion. 

13.  Compare  the  young  people  of  Act  III  with  those  of 

previous  acts  (as  before);  make  a  careful  out- 
line of  similarities  and  differences  and  discuss 
causes  tending  to  perpetuate  similarities  or  work- 
ing to  change  them. 

14.  In  the  above  comparisons  do  you  find  any  tenden- 

cies working  through  the  series?  If  you  do,  dis- 
cuss and  explain  these. 

TO 


15.  Why  is  Act  III  less  vital  and  strong  in  the  interest 

than  Act  II? 

16.  On  what  did  the  author  depend  for  unity  in  a  play 

in  which  the  relations  of  the  dramatis  personae 
change  in  each  act? 

17.  Name  for  each  act  the  task  or  purpose  the  dramatist 

intended  to  accomplish  in  it. 

18.  Define  carefully  the  theme  of  "Milestones." 

19.  What  is  the  chief  difficulty  in  presenting  this  play 

on  the  stage? 

20.  In  the  presentation  on  the  stage,  in  what  must  the 

chief  source  of  interest  be  found? 

21.  In  what  lies  the  relation  of  the  scenes  of  this  play 

to  the  individual  spectator,  or  reader? 

22.  To  what  has  the  popular  success  of  "Milestones"  in 

the  United  States  been  due? 

23.  Do  you  think  "Milestones"  a  play  likely  to  outlive 

the  generation  in  which  it  was  written?  Give 
reasons  for  your  opinion  with  consideration  of 
the  qualities  that  give  permanence. 

24.  Has  this  play  the  elements  of  dramatic  form,  dram- 

atic plot,  hero,  heroine,  climax,  etc.  Above  all 
has  it  unity  of  interest,  or  of  action,  or  of  theme  ? 


IV 

CHITRA,  AND  THE  PRINCESS 

RABINDRANATH  TAGORE 

I.    THE  POET 

1.  Describe  the  personality  of  Tagore  and  show  pic- 

tures. 

2.  What  can  you  learn  about  the  character  and  influence 

of  his  father? 

3.  How  and  where  was  Rabindranath  educated? 

n 


4.  What  is  his  own  position  in  India  ?    His  occupation  ?l 

5.  Where,  in   caste,  does  he  stand:    (a)    in  practice; 

(b)  in  belief  and  influence? 

6.  Do  you  find  that  his  mind  is  influenced  chiefly  by 

Western  or  by  Oriental  ideas? 

7.  In  what  book,  or  books,  may  be  found  his  interpre- 

tation of  the  beliefs  and  philosophy  of  India? 

8.  What  writings  won  for  him  the  Nobel  prize? 

9.  On  what  ground,  if  at  all,  was  this  honor  deserved  ? 

(See  Reference  list,  page  42.) 


II.       THE  POEM  AS  DRAMATIC  ACTION. 

10.  Preliminary.    Read  the  entire  poem  before  studying 

the  topics. 

Scene  i 

11.  Chitra  appears.     Describe  the  character,  education, 

secret  desires,  and  personality  of  Chitra  as  she 
appears  in  this  first  scene. 

12.  The  adventure  narrated.     How  is  this  explained  by 

herself?    How  is  it  understood  by  Madana? 

13.  Why  did   Chitra  ask   for   personal   beauty?     Why 

was  the  prayer  granted? 

Scene  2 

14.  Arjuna,  solus.     What   had  been  the  effect  of  the 

first  sight  of  Chitra's  beauty  on  him?  Three 
possible  explanations  of  the  author's  purpose 
suggest  themselves  in  accounting  for  this  effect ; 
what  are  they?  Which  do  you  choose?  Why? 

15.  Enter   Chitra.     What   essential   difference   between 

this  Chitra  and  the  Chitra  previously  seen  in  the 
forest  temple  of  Shiva?  Between  her  conduct 
then  and  now? 

1  The    description    of    the    peculiar    school    founded    by    him    should   be 
studied  in  this  connection.     See  New  York  Independent,  August  3,   1914. 

12 


1 6.  Are  Chitra's  last  words  in  this  scene  an  instance  of 

woman's  craft,  or  are  they  a  sincere  expression 
of  feeling? 

Scene  j 

17.  Interpret  the  meaning  of  Madana's  words  after  the 

close  of  Chitra's  narrative? 

1 8.  How  did  the  poet  intend  to  characterize  the  impulse 

that  led  Arjuna  to  break  his  vow,  as  described  in 
Chitra's  story,  scene  2,  and  Chitra  to  invite  the 
act? 

19.  Why  was  Chitra  thereafter  dissatisfied? 

20.  Explain  Vasanta's  counsel. 


Scene  4 

21.  In  scene  4,  there  seems  to  be  a  double  meaning  in 
the  speech  of  each;  explain  it  throughout  the 
conversation. 


Scene  5 

22.     What  is  the  meaning  in  this  brief  scene?    What  is 
the  purpose  in  the  play,  of  its  introduction  here  ? 


CHITRA  AND  THE  PRINCESS  (Continued) 
Scene  6 

23.  What  is  the  real  meaning  of  the  last  two  lines  of 

Arj una's  first  speech? 

24.  Compare  Geraint's  idleness  when  cherishing  Enid. 

See  Geraint  and  Enid,  in  "Idylls  of  the  King." 

13 


25.  What   caused  Arjuna's   thought  to   return,  at  this 

time,  to  old  days  ? 

26.  Explain  Chitra's  answer.     Did  Arjuna  understand 

her  words? 

27.  In  this  scene,  did  Arjuna  wish  to  escape  Chitra,  as 

a  hero  tired  of  his  mistress,  or  to  draw  her  into 
closer  bonds?  Show  your  reasons  for  the  opin- 
ion you  give. 

28.  Can   you   explain   Chitra's   prayer   here?     Did   she 

consider  the  boon  essential  to  success?  Did  it 
prove  so? 

29.  Trace  the  steps  of  the  revelation  intended  by  Chitra  ? 

30.  Why  was  Arjuna  misled  to  a  false  conclusion? 

31.  Contrast  the  Chitra  of  scene  9  with  Chitra  in  scene 

8 ;  explain  the  change.  Did  she  now  hope  to  win 
Arjuna  or  expect  to  lose  him? 

32.  Wherein   lies   the   dramatic   climax   of  this   simple 

action  ?    Wherein  the  conclusion  ? 

33.  What   is   lacking   for  the   complete   satisfaction   of 

English  or  American  readers? 

34.  This  play  has  been  produced  on  the  stage  by  ama- 

teurs, but  not  with  success.  Wherein  lies  the 
difficulty  of  reproducing  the  atmosphere  and 
effect  intended  by  Tagore? 


VI 
CHITRA  AND  THE  PRINCESS  (Continued) 

III.       CHITRA    AS   A   SYMBOLIC   POEM 

35.     There  are  at  least  two  points  of  view  to  be  con- 
sidered in  the  interpretation  of  the  hidden  mean- 
ing of  this  poem.    Brierlv,  these  are : 
(a)     Is  the  suggestion"  that  of  the  typical  phases 
and  transitions  of  woman's  life,  from  the 
blossoming  of  the  maid  into  womanhood, 
and  on  to  the  companionship  of  mature 
years  ? 


(b)  Or,  is  the  poem,  like  Ibsen's  'The  Doll's 
House,"  intended  to  set  forth  in  the  per- 
son of  a  single  woman  the  transformation 
now  taking  place  in  women,  in  their  lives, 
their  characters,  occupations,  duties,  rela- 
tions with  men? 

36.  If   (a)   is  your  opinion,  trace  the  meaning  hidden 

within  this  beautiful  poem  in  detail  showing  the 
significance  of  each  transition  and  its  subtle  rela- 
tion to  the  lives  of  men  and  women  typically 
revealed. 

37.  Or,  if  (b)   is  your  opinion,  show  step  by  step  the 

unfolded  parallel  and  also  discuss  the  question 
whether  Tagore  of  India,  the  land  of  Oriental 
mysticism,  may  be  supposed  to  have  hidden  this 
most  modern  interpretation  of  woman  in  the 
heart  of  his  poem. 

IV.     BRIEF  CRITICAL  COMPARISON   OF  TENNYSON^S  "THE 
PRINCESS"  AND  TAGORE'S  "CHITRA" 

"The  Princess,"  published  in  1847  nas  been  called 
"the  wind  before  the  dawn" ;  "Chitra,"  published  in 
1914  in  the  twentieth  century,  is  the  latest  word  on  the 
same  subject. 

38.  Preliminary:       What    changes,     historically,     have 

taken  place  in  the  position  and  lives  of  women 
since  1847?  Discuss  this  question  briefly  under 
the  headings :  Education ;  Occupations  ;  Relation 
of  woman  to  the  community ;  Relation  to  her  own 
household;  Relation  to  man  personally. 

39.  What    further   changes,   not   yet  accomplished,   are 

now  indicated? 

40.  The  following  passages  in  "The  Princess"  are  indi- 

cated for  careful  consideration;  they  especially 
express  Tennyson's  ideas  and  ideals  in  regard  to 
women.  Henry  Van  Dyke,  in  "The  Poetry  of 
Tennyson,"  page  112,  discusses  briefly  "The 
Princess"  and  these  ideals, 
(a)  Lady  Psyche's  prophecy,  "At  last  she  rose 

upon    a    wind   of   prophecy."      Part    II, 

1.  153- 

15 


(b)  The  Princess  Ida's  own  words,  "To  lift  a 

woman's    fallen    divinity    on    a   pedestal 
with  man."     Part  III,  1.  206-. 

(c)  The  Prince's  words,  "Henceforth,  thou  hast 

.a   helper,    me    that    know    the    woman's 
cause  is  man's."     Part  VII,  1.  242-. 

41.  What   were  the  reasons,'  in   1847,   f°r  introducing 

with  emphasis  the  conservative  point  of  view, 
and  characters  holding  it  with  strength  and 
prejudice? 

42.  In    "The   Princess,"   by    what   means   was  the   old 

position  abandoned? 

43.  In  "Chitra,"   why  is  the  old  conservative  view  of 

woman,  her  duties,  her  dependence,  etc.,  not 
presented  in  the  poem? 

44.  On  what  does  the  change  in  her  position  turn  in 

Tennyson's  poem?    On  what  in  "Chitra"? 

45.  In  "The  Princess,"  what  suggestion  do  you  find  of 

early  prophecies  of  the  effect  on  women  of 
higher  education  and  culture? 

46.  In  "Chitra,"  what  losses  in  the  life  of  woman,  in  the 

new  day,  do  you  find  suggested  ?  What  compen- 
sations for  these? 

47.  What  indubitable  reason  is  brought  forward  which 

must  forever  prevent  woman  from  turning  back 
to  the  shelter,  or  ease,  or  dependence,  of  an  older 
time? 

48.  Also,  ask,  from  the  point  of  view  of  (b),  what  three 

steps  in  this  transformation  are  represented  in 
the  conclusions  presented  respectively  in  Tenny- 
son's "The  Princess";  in  Ibsen's  "The  Doll's 
House";  in  Tagore's  "Chitra"? 

These  studies  are  confined  to  a  consideration  of  struc- 
ture and  essential  purpose  in  these  poems.  There  is 
abundant  material  in  each  for  the  study  of  rare  poetic 
qualities,  beauty  of  diction,  rhythm,  setting,  suggestion, 
song,  etc. 


16 


VII 

THE    GREAT    DIVIDE 

WILLIAM  VAUGHN  MOODY 

Act  I 

1.  At  the  time  when  Ghent  makes  his  appeal  to  Ruth 

to  give  him  a  ''fair,  chance,"  is  the  misunder- 
standing of  the  situation  by  each  an  essential 
part  of  the  play? 

2.  In  Ruth's  character,  in  Act  I,  what  evidence  of  the 

influence  of  New  England's  traditions  and  con- 
ventions do  you  find? 

3.  Trace,  in  Act  I,  all  points  of  contrast,  both  in  setting 

and  in  human  nature,  on  which  the  author  depends 
for  effect. 

Act  II 

In  Act  II,  each  is  trying  to  work  out  a  solution  of 
the  problem  as  he  or  she  understands  it : 

4.  State  the  circumstances  and  conditions  under  which 

the  two  are  living  and  show  the  bearing  of  these 
on  the  problem. 

5.  State  the  "situation''   as  it  exists  in  Ruth's  mind; 

what  solution  is  she  trying  to  reach  ? 

6.  State   the   problem   as   it   exists   in   Ghent's    mind ; 

what  results  is  he  striving  to  bring  about  ? 

7.  Has  the  author  indicated  any  possibility  of  solution 

f rom  themselves ;  that  is,  without  other  circum- 
stances or  influences  than  those  of  their  own 
lives?  Why,  or  why  not? 

8.  What  is  the  dramatic   reason   for  introducing  the 

prophecy  of  a  child  in  Act  II  ? 

9.  In  your  analysis  of  the  motives  which  led  Ruth  to 

go  with  her  brother,  what  were  the  decisive 
influences  ? 


Act  III 

10.  What  is  the  dramatic  reason  for  placing  Act  III 

in  the  old  home?  How  do  Ruth  and  Stephen 
reach  an  understanding,  at  last? 

11.  What  means  are  used  to  reveal  a  different  point  of 

view  to  Ruth? 

12.  On  what  course  of  conduct  and  acts  must  Stephen's 

words  to  Ruth  rest  to  be  effective?  Have  these 
been  made  clear  in  preceding  parts  of  Act  III  or 
of  the  play? 

On  the  stage,  the  last  act  of  this  play  is  weak  dra- 
matically ;  discuss  this  in  relation  to  the  preceding  acts 
and  show : 

13.  In  what  it  is  defective:   (i)  in  plan?  (2)   in  con- 

ception of  details?  (3)  in  relation  to  the  pre- 
ceding acts? 

14.  In   what   is   the   act   presented    dramatically  weak, 

(i)  in  characters?  (2)  in  action?  (3)  in  relation 
to  the  preceding  acts? 

15.  Suggest     changes     which     might     give     dramatic 

strength  to  the  act. 

1 6.  What  do  you  consider  the  main  thesis  of  the  play 

in  reference  to  man  and  woman?  What  is  its 
bearing  on  social  order  and  morality? 


VIII 

FAITH   HEALER 

WILLIAM  VAUGHN  MOODY 

Act  I 

1.  What  are  the  conditions  and  setting  on  which  the 

curtain  rises? 

2.  Why  is  the  Middle  West  chosen  for  the  scene  of 

the  action? 

18 


3.  Are  the  characters  typical,  or  individual?    Consider 

here:  Mr.  Beeler;  Mrs.  Beeler;  Martha  Beeler; 
Rhoda  Williams.  If  typical,  define  the  social  type 
or  class  each  is  intended  to  represent;  if  indi- 
vidual, the  personality,  so  far  as  it  appears  in 
Act  I. 

4.  Do  you  find  dramatic  significance  in  the  furnishings, 

etc.,  of  the  room? 

5.  Enter  Michaelis:     What  "situation"  is   created  by 

this  man's  entrance  into  this  house? 

6.  Define  the  impression  made  personally' by  this  man 

on  each  one  of  the  family. 

7.  What  happen^  to  Michaelis  himself  as  a  result  of 

his  entrance  into  this  household? 

8.  What  is  the   result  in  relation  to   the  visions  and 

ideals  of  his  past  life"? 

9.  What  is  the  effect  on  each  one,  including  Michaelis, 

of  the  healing  of  Mrs.  Beeler? 

10.  Why  is  the  negro,  Abe,  introduced  at  the  close  of 

this  act? 

11.  Is  the  healing  of  Mrs.  Beeler,  or  the  approach  of 

the  multitude,  with  the  effect  on  Michaelis,  the 
culmination  of  the  purpose  in  Act  I? 


Act  II 

12.  What  is  the  first  important  element  of  the  dramatic 

situation  presented  in  Act  II? 

13.  What  means  is  taken  to  reveal  this  dramatic  situa- 

tion to  readers  or  to  spectators? 

14.  Must  this  act  be  most  effective  on  the  stage,  or  in 

the  reading  of  the  play?    Why? 

15.  What  means  of  removing  the  spell  are  considered 

by  each  ? 

1 6.  Why  are  the  doctor  and  the  minister  both  introduced 

at  this  point  in  the  play? 

19 


17.  In  this  act,  is  Rhoda  in  her  relation  to  Michaelis 

typical,  or  a  person?  Show  your  position  by 
defining  the  typical  influence,  or  the  personal 
relation  between  the  two. 

18.  The  Call  and  the  Hour:  What  constitutes  the  call? 

How  is  the  man  sure  of  the  hour,  at  last  ? 

19.  Why  is  the  doctor's  explanation  thrown  in  here,  at 

this  point  in  the  play? 

20.  What  is  at  the  root  of  the  Healer's  despair? 

21.  What  visible  evidences  of  failure  are  presented  on 

the  stage?  Show  how  each  different  person  ex- 
plains these  occurrences.  Which  seems  to  you 
the  real  explanation? 


IX 

THE     FAITH     HEALER     (Continued) 
Act  III 

22.  Act  III  opens  with  two  opinions.     What  is  Beel- 

er's   explanation   of  the  occurences  of  the  day, 
especially  of  the  Healer's  failure? 

23.  What  is  Martha's  explanation? 

24.  Why  is  Abe  still  brought  in  as  a  part  of  the  scene? 

25.  Solutions  of  the  difficulty — the  spell : 

(a)  Beeler's  explanation  of  it. 

(b)  Abe's  notion  of  getting  rid  of  it. 

(c)  Rhoda's  solution,  shown  by  act,  and  by  the 

purpose  in  her  mind,  is  what  ? 

26.  Why  is  the  doctor  again  introduced  here  by  means 

of  Martha's  report? 

27.  Enter  Michaelis :    What  is  the  most  important  dram- 

atic effect  to  be  produced  by  his  entrance? 

28.  What  is  the  significance  of  his  "magic  rope,"  which 

is  introduced  several  times,  especially  here? 

29.  What  is  the  significance  of  the  chance  word  which 

calls  forth  a  sudden  exclamation  from  Michaelis  ? 

20 


30.  Enter  Rhoda,  purpose  in  mind :   What  does  Rhoda 

see  in  Michaelis's  proposal  ?  Why  does  she  refuse 
it?  What  is  Rhoda's  explanation  of  the  Healer's 
failure  ? 

(Note  the  parallel  between  the  belief  in  the 
Healer's  mind  and  the  mediaeval  idea;  as,  in  the 
temptation  of  Parsival  by  Kundry.) 

31.  Why  does  the  author  condemn   Rhoda's  marriage 

with  Littlefield  as  gross  and  immoral?  Is  this 
the  traditional  view?  Does  it  appeal  to  you  as 
likely  to  prevail  ? 

32.  What  considerations  for  it  are  strongest? 

33.  What  is  the  answer  of  those  who  take  the  other 

position  ? 

34.  At  what  point  in  the  play  does  Michaelis  pass  from 

the  mediaeval  to  the  modern  point  of  view  in 
regard  to  the  love  of  woman?  Give  his  own 
explanation  of  the  change  that  has  taken  place  in 
himself. 

35.  Who  first  discerned  the  change  that  had  taken  place 

in  the  Healer?    Why? 

36.  The  first  effort  to  help  another  put   forth  by  his 

spirit  was  what  ? 

37.  What  is  the  essential   difference  between  the  first 

turning  of  his  spirit  to  Rhoda  and  the  second  ? 

38.  Did  the  author  intend  you  to  believe  that  the  doctor, 

or  the  Healer,  saved  the  child? 

39.  To  what  did  he  intend  you  to  attribute  Mrs.  Beel- 

ers  second  restoration? 

40.  Define,  as  nearly  as  you  are  able,  the  belief  and  the 

power  in  which,  at  length,  the  Healer  went  forth 
to  the  multitude. 

GENERAL  TOPICS 

If  you  find  in  this  play  a  parallel  to  historic  phases  of 
belief  since  the  time  of  Christ,  trace  and  amplify  it  in  the 
following  points : 

41.  In  regard  to  the  celibacy  of  the  priest. 

21 


42.  In  regard  to  the  source  and  nature  of  the  Healer's 

power. 

43.  In  popular  belief  concerning  the  so-called  instances 

of  healing. 

44.  In  regard  to  the  relation  of  man  to  human  need ; 

the  call,  and  the  way  in  which  it  is  best  obeyed. 

45.  In  regard  to  woman's  relation  to  man. 

46.  In  regard  to  woman's  place  in  society. 

47.  This  play  was  not  a  success  on  the  stage.    Does  the 

play  fail  in  dramatic  quality,  or  in  emotional  con- 
tent, or  in  appeal  to  human  interest  and  sympathy  ? 

48.  In  what  is  the  play  difficult  to  present,  or  dramatic- 

ally weak? 


X 

MARLOWE 
JOSEPHINE  PRESTON  PEABODY 

Special   references   for  this  play   will  be   found  on 
page  44. 

1.  Dramatis  personae :     Greene,   Lodge,  Nash,   Peele, 

Marlowe — for   each   give  a  brief  outline  of  his 
life,  showing: 

(a)  Age   of   the   man,   and   social    position   or 

means  of  livelihood  at  the  date  of  Mar- 
lowe's "Faustus." 

(b)  Works  already  produced. 

(c)  Most  notable  work  produced  at   any  time 

in  the  life  of  each,   whether  written  at 
this  time  or  later. 

(rf)     Relation  of  each  man  in  the  group  to  the 
other. 

2.  Which  of  these  men   everted  the   most   important 

influence  on  his  contemporaries?      On    English 
dramatic  literature? 

22 


3.     What  historical  facts  in  the  life  of  Marlowe  were 
of  dramatic  value  as  a  basis  for  this  play? 


In  London  at  this  Date 

4.  What    theaters    were    open?      Where    were    they? 

Why? 

5.  Who  was  on  the  throne  ?    What  was  the  attitude  of 

the  court  toward  plays  and  players? 

6.  What  class  in  the  community  condemned  plays  and 

actors?    Why?    Was  this  class  powerful? 

7.  How  were  companies    of    players    supported    and 

protected  ? 

The  Faust  Legend 

8.  Give  some  account  of  the  Faust  legend  in  its  differ- 

ent forms,  and  of  its  origin,  age,  distribution,  etc. 

9.  What  use  had  been  made  of  it  in  literature  up  to 

this  time  ? 

10.  What  was  Marlowe's  purpose  in  choosing  this 
legend  for  his  play  ?  How  did  the  play  affect  his 
reputation  ?  Why  ? 


XI 


MARLOWE   (Continued) 

Comment:  The  dramatic  plot,  in  this  play,  is  sub- 
ordinate to  the  main  purpose  of  presenting  a  great  poet 
in  contrast  to  his  fellows,  and  under  the  conditions  of  his 
age.  The  effect  is  rather  epic  than  dramatic,  but  the 
semblance  of  dramatic  form  is  preserved  by  a  slight  plot, 
consistently  subordinate  to  the  presentation  of  the  man 
and  the  understanding  of  his  character. 

23 


Act  I 

11.  What  impression  about  the  play  "Faustus"  is  grad- 

ually produced  by  the  talk  of  Scene  I  ?  Why  is 
Marlowe  made  to  enter  with  talk  about  his  own 
play? 

12.  Enter  Barnby,  Alison,  etc.:     When  Marlowe   sees 

Alison,  what  is  the  effect  on  him?  Contrast  and 
define  the  effect  of  Alison  on  Marlowe,  with  the 
impression  she  produces  on  the  other  poets  pres- 
ent. What  is  the  purpose  of  this  contrast? 

13.  What  beginning  of  threads  of  plot  do  you  find? 

14.  What  is  the  "situation"  at  the  close  of  Act  I  ? 

15.  Explain  Marlowe's  words,  "I  am  the  man,  the  devil, 

and  the  soul."  Why  placed  at  the  close  of  Scene  I  ? 

SCENE  3 

1 6.  Explain  the  effect  of  the  song  on  Alison. 

17.  What  was  Marlowe's  mood  and  his  feeling  toward 

her  in  this  scene? 

1 8.  What  is  the  difference  in  attitude  of  mind  toward 

Alison  between  Andrew  and  Bame? 

19.  Why  is  "Her  Ladyship"  introduced  at  the  close  of 

the  scene  with  Alison? 

20.  What  attraction   brought   "Her  Ladyship"   to  this 

place?  What  does  she  represent  in  Marlowe's 
life? 

Act  1 1 

21.  Explain  the  purpose  of  this  scene  with  reference  to 

each  of  the  following :  Alison,  Marlowe,  Andrew, 
Bame  ? 

22.  (a)     What  do  you  understand  by  Marlowe's  words 

about   Alison?     Did  any    who   heard   him 
understand  his  meaning,  or  his  feeling? 
(b)     Define  as  fully  as  you  can  the  influences  at 
work  in  Marlowe's  mind  at  this  time. 

24 


XII 

MARLOWE   (Continued) 

Act  III 

23.  What  had  taken  place  in  the  interval  since  Act  II? 

24.  What  news  is  told  here?    What  is  the  bearing  of  it 

upon  the  persons  present? 

25.  How  does  Bame  translate  his  own  failure  into  terms 

of  personal  enmity? 

26.  Explain    the    "lash"    against  .Marlowe   which   he 

should  shun. 

27.  Why  is  "Her  Ladyship"  again  introduced  ? 

28.  Trace  the  working  of  Marlowe's  mind  which  finally 

sends  him  forth  to  seek  "the  Little  Shrine."  In 
his  mind,  what  issue  turned  on  the  result? 

29.  Does  this  afford  comment,  or  throw  light  either  on 

his  personal  beliefs,  his  plays,  or  his  past  conduct  ? 

Act  IV 

30.  Discover  the  basis  of  sympathy  between  Alison  and 

Gabriel,  as  shown  in  Scene  I ;  also,  the  essential 
difference  between  them,  if  any  exists. 

31.  Discuss  the  question  whether  Alison  is  typically  a 

beautiful  English  maid  in  time  of  bloom,  or  a 
girl  who  is  endowed  with  poetic  temperament 
and  imagination. 

32.  Why  must  this  scene  precede  the  entrance  of  Mar- 

lowe? 

33.  Did  Alison  understand  Marlowe's  purpose  in  corn- 

ing?   What  did  she  suppose? 

34.  What  guided  Alison  in  the  response  she  made  to 

Marlowe  ? 

35.  Why  did  he  not  kiss  her?    Did  he  fulfil  his  hope  in 

coming?     How?  or,  why  not? 

25 


36.  Show  and  trace  the  slight  plot  which  at  length  causes 

Marlowe's  death. 

37.  Show  how  the  condition  of  Marlowe  and  the  man- 

ner of  his  death  in  Act  V  grows  out  of  forces 
working  from  an  earlier  time. 

38.  Give,  briefly,  a  characterization  of  Marlowe,  drawn 

wholly  from  the  impressions  you  find  in  your 
own  mind  at  the  close  of  this  reading.  Describe 
him  as  you  think  he  should  appear  on  the  stage 
in  the  first  acts,  in  the  last. 


XIII 

THE  PIPER 

JOSEPHINE  PRESTON  PEABODY 

Comment :  In  this  play,  three  threads  are  interwoven, 
namely,  the  form  and  material  of  the  play  drawn  from 
the  traditions,  literature  and  histories  of  mediaeval  times ; 
the  story,  or  plot,  which  forms  the  drama,  also  medi- 
aeval in  its  origin ;  and  the  inner  or  double  meaning 
which  makes  the  play  almost  allegorical.  This  hidden 
meaning  is  spiritual  and  informs  the  narrative,  even  as 
soul  the  body. 

1.  What  is  the  "dramatic   situation"  with  which  the 

play  opens? 

2.  Outline  briefly  the   antecedent   plot  of   which  this 

situation  is  the  conclusion. 

3.  Point  out  what  one  element  in  this  situation  pre- 

vents it  from  being  a  true  conclusion  of  the  ante- 
cedent plot  and  is  the  beginning  of  a  new  action. 

4.  Discuss  all  means  used  to  give  a  mediaeval  atmos- 

phere to  the  scene,  and  to  indicate  the  mediaeval 
characteristics  of  the  people. 

26 


5.  Make  a  plot  outline  of  Act  I,  showing  steps,  and 

define  expressly,  beginning,  climax,  and  conclu- 
sion, or  "situation." 

6.  Throughout   Act   I,  point   out  the  inner   meaning, 

especially  sentences  and  phrases  of  double  sig- 
nificance. 

Act  II 

7.  A  dream — why?    What  is  the  meaning  of  it? 

8.  Through   the   dream  float  bits  of  plot  interwoven 

from  Act  I ;  trace  these  and  show  how  the  action 
moves  on  by  means  of  them. 

9.  Show  wherein  contrast  and  double  meaning  thread 

the  scene. 

10.  How,  if  at  all,   does  the  double  meaning   connect 

with  the  inner  meaning  of  Act  I  ? 

SCENE  2 

11.  What  had  been  the  Piper's  real  reason  for  leading 

away  the  children? 

12.  Why  did  he  feel  that  Barbara  must  not  become  a 

nun? 

13.  Why  would  he  not  consider  the  price  Michael  named 

as  the  only  one  that  could  save  her? 
NOTE.     Kipling's  "They"  should  be  read  in  connec- 
tion with  the  dream  thread  in  this  act.     Each  will  inter- 
pret the  other. 

14.  The  plot  of  this  scene  is  what?    What  part  of  it  is 

made  out  of  the  earlier  plot?  What  part  out  of 
beliefs  and  superstitions  that  exist  only  in  the 
mind? 

15.  What  is  the  inner  meaning — 

(a)  Of  the  strange  dancing? 

(b)  Of  Barbara's   following  the  Piper  instead 

of  Michael? 

(c)  Of  the  Piper's  fear  of  the  rainbow  gleam? 

27 


XIV 

THE    PIPER    (Continued) 

Act  III 

16.  Interpret,  "  Tis  her  very  self  is  caged  within  her- 

self." 

17.  Give  a  brief  outline  of  the  plot  that  determines  the 

form  of  Act  III. 

18.  Interpret  the  transformation  scene  which  really  is 

Barbara's  betrothal,  especially  the  words  of  the 
Piper;  also,  the  descriptive  passages. 

19.  Seen  on  the  stage,  of  which  will  the  mind  be  most 

conscious  here,  of  the  form  and  story,  or  of  the 
inner  meaning,  the  spiritual  significance? 

20.  What  element  closely  related  to  the  dream  life  of 

the  children  enters  into  the  scene  with  Veronika  ? 

21.  What  brought  Veronika,  alone  of  all,  to  the  Piper? 

What  kept  the  others  back? 

22.  In  what  lies  the  strength  of  Veronika's  final  appeal 

to  the  Piper?  Why  does  he  struggle  so  hard 
against  it? 

23.  The    Piper    defines    the    conception    of   parenthood 

prevalent  in  Hamelin ;  give,  in  your  own  words, 
in  full,  this  conception  and  its  bearing  on  (a)  fam- 
ily life;  (b)  the  child;  (c)  the  community.  What, 
chiefly,  did  the  Piper  condemn?  What  would 
he  substitute? 

24.  Where,   in   Act   III,   is  the   great  dramatic  scene? 

Show  why,  and  what  it  is  that  makes  this,  as  it 
were,  the  culmination  of  all  that  precedes. 

Act  IV 

25.  Show  the  contrast  between  Act  I  and  Act  IV. 

26.  Show  the  changes  in  the  people  as  apparent  on  the 

stage. 

28 


27.  Show  why  the  children,  at  last,  returned. 

28.  Why  is  all  closely  tied  to  the  "Lonely  Man"  ? 

29.  Why  must  the  Piper  disappear  at  the  end  ? 

30.  Is  it  intended  to  represent  that  supernatural  agen- 

cies are  at  work  in  the  final  act? 

31.  Last  of  all,  discuss  what  is  the  theme,  or  central 

purpose,  of  this  play. 


XV 

THE    BLUE    BIRD 
MAURICE  MAETERLINCK 

Act  I 

THE  TRANSITION 

1.  What  means   of   rendering   the   transition   credible 

to  the  imagination  are  used? 

2.  What  is  the  difference  between  the  child's  mind  in 

this  respect  and  the  minds  of  grown  up  persons? 
Would  this  difference  suggest  itself  most  forcibly 
to  the  reader,  or  to  the  spectator  ? 

3.  For  what  does  the  diamond  stand  throughout  the 

play? 

4.  How  is  the  sense  of  parallel,  contrast,  or  relation- 

ship between  the  dream  world  and  the  real  world 
preserved  throughout  Act  I? 

Act  II 

SCENE    I.       THE   TRANSFORMATION 

5.  Show  why  the  dramatis   personae  enter  after   the 

curtain  goes  up. 

29 


6.  What  determines  the  form  and  appearance  of  each 

as  the  actors  appear? 

7.  Have  these  persons  a  real  existence  in  any  literature, 

age,  or  imagination? 

8.  What  is  the  point  of  view  in  regard  to  these  dram- 

atis personae  which  the  dramatist  must  consis- 
tently maintain  to  carry  out  his  plan? 


SCENE    2.       THE    LAND   OF    MEMORY 

9.     Out  of  what  is  the  Land  of  Memory  made  ? 

10.  What  seems  to  be  the  law  of  selection  and  sequence 

in  the  Land  of  Memory? 

11.  What  special  part  in  child  life  does  the  Land  of 

Memory  supply? 

12.  How  is  entrance  found?    What  ends  the  stay  here? 

Why? 

13.  How  is  it  that  the  Blue  Bird  is  found  here,  and  then 

lost? 

Act  III 

SCENE    I.       THE    PALACE   OF    NIGHT 

14.  Why  should  the  Palace  of  Night  follow  the  Land 

of  Memory? 

15.  What  is  the  difference  between  experiences  in  the 

Palace    of    Night    and    those    in   the    Land    of 
Memory  ? 

1 6.  What  is  the  relation,  if  any,  between  this  world  and 

the  world  of  real  things? 

17.  What  is  the  meaning1  of  the  scene  of  the  Blue  Birds 

that  cannot  live  in  the  daylight? 


XVI 

THE  BLUE  BIRD   (Continued) 
Act  III  (Continued) 

SCENE  2.       IN   THE   FOREST 

1 8.  What  is  the  relation  of  the  forest  scene  to  the  one 

that  precedes? 

19.  Why  are  all  animals  except  the  dog  and  the  guide 

supposed  to  be  in  league  against  the  quest  of  the 
children  ? 

20.  What  is  the  primary  cause  of  all  the  trouble  in  the 

forest  ?    On  what  does  the  imaginary  climax  turn  ? 

Act  IV 

THE   LAND  OF   THE  DEAD 

21.  On  what  excuse  are  the  children  sent  to  the  Land 

of  the  Dead? 

22.  Why  may  no  animals  and  no  things  accompany  them 

here? 

23.  What  is  the  preliminary  conversation  between  Tyltyl 

and  Mytyl  intended  to  represent  ? 

24.  What  is  the  meaning  of  the  only  comment  on  the 

scene  that  follows  the  turning  of  the  diamond? 

SCENE  3.       THE  KINGDOM  OF  THE  FUTURE 

25.  Study  the   arrangement  of  the  scene,  and  not  the 

symbolism  of  parts.    Why  is  it  hard  to  recognize 
anything  in  the  Kingdom  of  the  Future  ? 

26.  What  is  the  essential  difference  between  the  King- 

dom of  the  Future  and  the  Kingdom  of  the  Past? 

27.  What  is  the  connection  between  this  scene  and  the 

earlier  parts  of  the  quest  ? 

28.  Why  are  children  the  ones  taken  into  the  Kingdom 

of  the  Future? 

31 


SCENE    I.       THE   RETURN 

29.  How  is  the  scene  in  the  Land  of  the  Future  brought 

to  an  end  ?  How  is  the  transition  from  unreal  to 
real  effected? 

30.  On  what  must  the  dramatist  depend  for  the  accep- 

tance of  this  change  by  reader  or  spectator  ? 

SCENE  2.       IN  THE  REAL  WORLD. 

31.  On   what   is   the   emphasis   placed   throughout  this 

scene  ? 

32.  What  is  the  secret  that  at  last  discovers  the  Blue 

Bird? 

33.  Why  at  the  very  end,  when  really  found,  does  he 

once  more  escape,  and  fly  away  into  the  blue? 

34.  Do  you  recall  any  parallel  disappearance,  in  great 

literature,  of  the  desired  sign  of  the  ideal? 

35.  Why,  in  this  play,  are  children  instead  of  adults, 

sent  in  search  of  the  Blue  Bird  ? 

36.  Distinguish,  in  the  play,  the  Destroyers  of  Happi- 

ness, and  the  mistakes  that  lead  away  from 
Happiness.  Show  the  relation  of  the  children 
to  each ;  of  each  to  the  quest. 


XVII 
HEROD 

STEPHEN  PHILLIPS 

COMMENT:  This  poetic  drama  is  remarkable  for  care- 
ful structure,  dramatic  action  adequately  motived,  and 
tragic  effect,  prepared  for  from  the  beginning,  and  made 
effective  with  great  skill. 

Act  I 

i.  What  is  the  significance  of  the  setting  of  this  scene, 
in  suggesting  either  character,  or  the  action  to 
come?  Illustrate  from  the  text. 

32 


2.  What  is  the  first  impression  of  Herod,  the  King? 

3.  Point  out  the  relative  importance  of  the  characters 

appearing  in  this  scene;  how  is  this  shown? 
Define  the  personal  relation  between  each  and 
Herod. 

4.  What  is  the  first  indication,  or  clue,  of  the  dramatic 

action  of  the  drama? 

5.  What  parties  and  persons  at  court  desired  the  death 

of  Aristobulus?  To  what  motive  was  appeal 
made  to  bring  it  about? 

6.  Trace  the  plot,  in  outline,  from  this  beginning  to  the 

end  of  Act  I,  and  give  all  the  elements  of  the 
"dramatic  situation"  as  you  find  it  at  the  close  of 
this  act. 

7.  Does  it  seem  to  you  that  the  act,  or  incident,  that 

determines  the  course  of  the  action  has  taken 
place  at  the  close  of  Act  I  ? 

8.  What  sub-plot  do  you  find  in  Act  I  ?    Is  its  relation 

to  the  main  plot  essential?  Show  how,  or  how 
not?  Is  this  sub-plot  sufficiently  motived  in  the 
past  lives  of  the  actors  ?  Show  how,  or  how  not. 


Act  II 

9.  The  return  of  Herod:  Show  what  Herod's  own 
expectation  of  his  return  was.  Show,  also,  what 
awaited  him  and  why  this  did  not  correspond 
with  his  own  anticipation. 

10.     What  was  Herod's  bargain? 

n.     Does  the  account  here  correspond  with  the  historical 
situation  ? 

12.  Did  the  political  situation  justify  this  bargain,  or 

did  Herod  betray  his  own  people  from  personal 
ambition  ? 

13.  The     meeting    between     Herod     and     Mariamne: 

Describe  the  mental  point  of  view  and  state  of 
each. 

33 


14-  Describe  the  understanding,  by  each,  of  the  other's 
mind  and  attitude.  Which  was  in  the  stronger 
position  ?  Why  ? 

15.  Define  the  outside  influences  brought  to  bear  and 

show  how  each  worked  on  Herod's  nature.  Had 
he  anticipated  the  complications  in  court  and 
populace  that  met  him  on  his  return? 

1 6.  Why  did  the  first  plot  against  the  life  of  the  queen 

fail? 

17.  The   defense  of  the  King:    Give  each  step  of  the 

assault  on  his  position  and  the  influences  that 
led  to  it ;  then,  each  step  of  the  reversal  of  feel- 
ing wrought  by  Herod  and  explain  how  it  was 
done? 

1 8.  What  was  the  appeal  made  by  Herod  to  Mariamne? 

Why  did  it  fail? 

19.  How  was  the  final  word  drawn  from  Herod?   Was 

it  the  lie  direct  that  succeeded  or  did  the  schemers 
work  upon  some  passion  of  his  nature? 

20.  What  are  the  most  significant  words,  or  line,  in  this 

act? 

21.  Why  is  the  envy  of  Caesar  introduced  at  this  precise 

moment? 


XVIII 

HEROD    (Continued) 
Act  III 

22.  Define  in  all  its  elements,  the  situation  with  which 

Act  III  opens. 

23.  Had  the  plotters  succeeded  in  what  they  were  aim- 

ing at  in  the  death  of  Mariamne  ?  Show  in  detail 
from  the  act  itself.  Explain  in  full  the  fear  that 
had  come  upon  them. 

24.  What  had  been  the  story  of  Herod  in  the  interval 

between  the  two  acts? 

34 


25.  How  is  Herod's  insanity  shown  on  the  stage  ?    How 

is  the  cause  of  it  made  manifest? 

26.  Compare  the  insanity  of  Lady  Macbeth  in  the  sleep 

walking  scene,  with  the  insanity  of  Herod  in 

(a)  The  motive  which  led  to  the  crime 

(b)  In  the  after  effect  of  the  crime  on  the  mind 

and  the  emotional  nature  of  each. 

(c)  Could  either  be  said  to  repent  of  the  act? 

If    so,    which?      Show    evidence    in   the 
play. 


GENERAL    TOPICS 

27.  What  is  the  tragic  motive  of  this  poetic  drama? 

28.  In  what,  really,  does  the  action  begin  ? 

29.  Wherein  is  the  climax? 

30.  What  is  the  conclusion  of  the  action  ?    Has  it  unity  ? 

If  so,  show  what  gives  it  unity. 

31.  In  what  lies  the  great  dramatic  power  of  this  play? 

32.  Discuss  the  question  whether  Herod  as  presented  in 

this  play  may  be  accepted  as  the  hero  of  tragic 
drama,  in  the  classical  sense;  that. is,  according 
to  Aristotle's  definition. 

33.  Discuss  carefully  in  what  degree  this  poetic  drama, 

either  in  the  text,  or  on  the  stage,  presents  chai- 
acters  historically  in  the  setting  of  the  fierce 
barbaric  age  in  which  they  lived.  Discuss  iri 
detail  the  degree  in  which  the  persons  themselves 
embody  or  represent  the  characteristics  of  the 
age  and  the  means  used  to  impress  these  upon 
the  audience  or  the  reader. 

34.  Compare  Salome,  in  this  play,   with  the  Salome  of 

Oscar  Wilde  and  show  which  author  has  most 
effectively  presented  her  in  the  setting  of  the  age 
and  time. 


35 


XIX 

THE  FIRE   BRINGER 

WILLIAM  VAUGN  MOODY 

COMMENT:  This  poetic  drama  is  symbolic  and  poetic 
rather  than  dramatic.  In  the  brief  time  allowed  for  study 
of  this  play,  it  seems  best  to  center  attention  on  these 
qualities. 

1.  Preliminary  reading. 

(a)  The    Introduction,   by    J.    M.    Manley,    to 

"Poems  and  Poetic  Dramas"  of  William 
Vaughn  Moody. 

(b)  The  reading  of  the  entire  drama,  then  the 

re-reading  of  Act  I. 

2.  Let   some  one   give   briefly,   the  mythical   story   of 

Prometheus,  which  serves  as  the  foundation  of 
this  poem.  (See  Gayley's  "Classic  Myths"  for 
the  best  brief  statement.) 

3.  Summarize  very  briefly  the   plan   of  the   dramatic 

action  of  'The  Fire  Bringer." 

4.  Give  in  brief  the  purpose  of  Act  I  in  this  plan  and 

point  out  its  chief  moment. 

5.  Give  in  brief  the  purpose  of  Act  II  and  show  the 

importance  of  the  chief  moment  in  this  act,  its 
relation  to  the  plan  of  the  play  and  to  Act  I. 

6.  What  is  the  chief  moment  in  Act  III?    What  part 

in  the  dramatic  action  has  this  act?  What  is  its 
relation  to  Act  I  ?  To  Act  II  ? 

7.  In  Act  I,  what  is  the  symbolic  significance  of— 

(a)  Dukalion  and  his  family? 

(b)  The  Stone  men  and  women? 
( c  )      Prometheus  ? 

(d)  Pandora? 

(e)  The  absence  of  light,  sun,  stars,  etc? 

8.  To  what  was  the  despair  of  the  aged  king  due? 

36 


9.     In  the  songs  of  Act  I — 

(a)  Interpret   in   a   series   the   three   songs  of 

Pandora. 

(b)  Interpret  the  songs  of  the  Stone  men,  of 

the  Earth  women;  do  you  find  them 
prophetic?  If  so,  what  are  their  mean- 
ings? 


XX 

THE  FIRE  BRINGER   (Continued) 
Act  II 

10.  Act  II  is  not  so  clearly  presented  as  Act  I.    Inquire 

what  two   influences,   in   the   action,   come   into 
conflict.    Explain  these.    How  do  they  arise? 

11.  How  is  the  sacrifice  halted?    Why? 

12.  Explain  the  slow  approach  of  Pandora  and  the  sig- 

nificance of  each  part. 

13.  Why  does  Pandora  appear  before  Prometheus  here, 

as  elsewhere? 

14.  What  is  the  significance  of  the  reappearance  of  the 

stars  ? 

15.  Interpret  Pandora's  song,  p.  234. 

16.  What  is  the  meaning  of  Pandora's  song,  p.   242? 

Of  the  four  lines,  top  of  p.  243  ? 

17.  Prometheus's  words,  p.  245 — 

(a)  What  is  the  symbolic  meaning  of  the  pre- 

sentation of  the  fire  in  the  reed? 

(b)  WTiat  is  the  relation  of  this  gift  to  the  scene 

with  which  the  play  opens? 

(c)  How  is  the  symbolic  meaning  of  these  lines 

to  be  connected  with  the  hidden  or  sym- 
bolic meaning  in  Act  I? 

(d)  Why   is  the  fire  given   into  the  hands  of 

Aeolus  and  Alcyone? 

37 


Act  III 

COMMENT  :  In  "Prometheus  Bound"  of  Aeschylus, 
the  great  tragic  drama  deals  chiefly  with  the  wrath  of 
Zeus,  and  the  penalty  exacted  of  Prometheus  for  aiding 
mankind.  In  this  play,  Prometheus  is  an  aid  to  man,  an 
incident,  a  means  of  salvation,  in  the  larger  drama  of 
mankind  fleeing  as  a  race  before  the  wrath  of  the  gods. 
There  is,  therefore,  little  opportunity  for  profitable 
comparison. 

18.  With  what  fear  does  Act  III  open? 

19.  What   does   Pandora   foresee  in   the   early  part   of 

Act  III? 

20.  How   are   men   reassured?     Point   out,   in   Prome- 

theus's  words,  all  the  beneficent  results  to  flow 
from  his  gift  of  fire.  Interpret  the  prophetic  and 
secret  meaning  by  paraphrasing  in  plain  speech 
Prometheus's  words,  p.  260,  beginning  "an  the 
folk,  though  ignorant,"  to  end  of  speech. 

21.  What  is  the  reference  in  Pandora's  words,  p.  265? 

22.  Wrhat  is  the  prophetic  meaning  of  the  lines  sung  by 

the  Stone  men,  p  266? 

23.  In    the    Introduction,    Professor    Manley    attaches 

especial  significance,  symbolically,  to  the  song  of 
Pandora,  pp.  267,  268.  Explain  if  you  can. 

24.  Close  this   discussion  by   reading  aloud  this   song, 

and  after,  Eve's  song  from  "The  Death  of  Eve." 
See  p.  138. 


REFERENCE    LISTS 


SUGGESTED     FOR     PRIVATE    OWNERSHIP    BY     EACH 
MEMBER   OF   CLUB 


The  Study  Outline. 

Copies  of  the  plays  to  be  studied. 

Suggestive  questions  for  study  of  dramatic  technique. 
Pamphlet.  Drama  League  of  America. 

The  Drama,  its  Laws  and  Technique,  by  Elizabeth  Wood- 
bridge. 

EDITIONS   OF   PLAYS   FOR   STUDY 

Chitra,    by    Rabindranath    Tagore.     .  1914.      Macmillan. 

$1.00." 

Herod,  by  Stephen  Phillips.     1900.     Lane.     $1.25. 
Justice,  by  John  Galsworthy.     1910.     Scribner.    6oc. 
Marlowe,  by  Josephine  Preston  Peabody.    Rev.  'ed.  1905. 

Houghton.    $1.10. 
Milestones,  by  Arnold  Bennett  and  Edward  Knoblauch. 

1912.     Doran.     $1.00. 
The  Blue  Bird,  by  Maurice  Maeterlinck.     1910.     Dodd. 

$1.25. 
The  Faith   Healer,  by  William  Vaughn  Moody.     1910. 

Macmillan.     $1.25. 
The  Fire  Bringer,  by  William  Vaughn  Moody.     1904. 

Houghton.    $1.10. 
The  Great  Divide,  by  William  Vaughn  Moody.     1909. 

Macmillan.    $1.25. 

The  Piper,  by  Josephine  Preston  Peabody.  1909.  Hough- 
ton.  $1.10. 

The  Princess,  edited  by  Albert  S.  Cook,  Ph.D.,  Ginn. 
3oc. 

39 


BOOKS  WHICH  MAY  BE  FOUND  IN  THE  LOCAL  LIBRARY  OR 
OBTAINED  FROM  THE  STATE  LIBRARY  COMMISSION 

(This  brief  list  of  the  reference  material  may  easily  be 
amplified  from  the  resources  of  any  local  library.) 

Hale,  E.  E.  Dramatists  of  To-day.  1911.  Holt.  $1.50. 
For  Maeterlinck,  pp.  174-217. 

For  Phillips,  for  The  Poetic  Drama,  see  pp.  148-173. 
Notice  especially,  Standards  of  criticisms,  pp.  1-12. 

Hamilton,  C.  M.     Theory  of  the  Theater.     1910.     Holt 

$1.50. 

A  popular  book  illustrated  from  modern  plays,  but 
of  little  value  for  critical  study. 

Ibsen,  Henrik.  Doll's  House.  Inexpensive  editions — 
W.  Archer's  translation.  1900.  Baker,  pa  25c ; 
also,  with  other  plays.  (Everyman's  Library.)  1910. 
Dutton.  35c. 

Kipling,  Rudyard.  'They.  1906.  In  Traffics  and  Dis- 
coveries, p.  279.  Doubleday.  $1.50. 

Matthews,  Brander.'  Study  of  the  Drama.  (Student's 
edition.  )  1910.  Houghton.  $1.25.  Chapter  12, 
The  Poetic  Drama  and  the  Dramatic  Poem. 

Meredith,  George.  An  Essay  on  Comedy  and  the  Use  of 
the  Comic  Spirit.  Scribner.  $1.25. 

Montague,  C.  E.     Dramatic  Values.     1911.     Macmillan. 

$1.25. 

Rose,  Henry.  Maeterlinck's  Symbolism:  The  Blue  Bird 
and  other  essays.  1911.  Dodd.  $1.00. 

Morley,  Henry.  History  of  English  Literature,  vol.  ix, 
pp.  245-259. 

(This  set  is  found  in  many  libraries,  and  gives  a 
full  account  of  the  Faust  Legend,  Marlowe,  and  other 
matters  important  here.  Clubs  not  having  access  to 
a  public  library  may  find  some  information  in  Green's 
Shorter  History  of  England,  Saintsbury's  English 
History,  etc.) 

Saintsbury,  G.  E.  B.     Short  History  of  English  Litera- 
ture.     1898.     Macmillan.     $1.50. 
For  Marlowe's  life  and  contemporaries. 

40 


Van  Dyke,  Henry.    Poetry  of  Tennyson.'  'Scribner.  $1.25. 

Woodbridge,  Elizabeth.  The  Drama :  Its  Law  and  Tech- 
nique. Allyn.  8oc. 

Pamphlets  on  the  technique  of  the  drama:  Davidson, 
H.  A.  Studies  of  the  Historical  Plays  of  Shakespeare, 
4v.,  Study-Guide  Series,  Cambridge,  Mass.  (Either 
one  of  the  four  studies  contains  in  a  brief  summary, 
the  principles  of  dramatic  structure,  the  requirements 
for  each  act  in  the  so-called  classical  drama,  the  rela- 
tion of  each  act  to  the  whole  plot,  etc.,  also  careful 
definitions  of  "situation,"  "climax,"  "conclusion," 
etc.)  Spaulding,  A.  H.  Suggestive  questions  for 
study  of  dramatic  technique,  Drama  League  of  Amer- 
ica, 736  Marquette  Building,  Chicago.  IDC. 

Reference  material  on  the  following  topics  must  be  sup- 
plied by  each  library  according  to  its  resources. 
Such  material  can  also  be  secured  at  reasonable 
rates  from  the  Wilson  Package  Library,  operated 
by  the  H.  W.  Wilson  Company. 

Changes  in  position  of  women  since  1850. 
The  Faust  legend. 


REFERENCE  LISTS  FOR  SPECIAL  PLAYS 
OR  TOPICS 

CHITRA  AND  THE  POET  TAGORE 

Portraits  of  Tagore,  in 
Bookman.     Jan.  1914. 
Survey.     Feb.  14,  1914. 
Collier's.    Dec.  20,  1913. 
Articles : 

Nobel  Prize  Winner.     Bookman.  Jan.  1914. 

Hindu   of    the    Celtic    Spirit.      Review   of   Reviews. 

Jan.  1914. 
India's    Shakespeare    and    Tasso    in    One.     Forum. 

Jan.   1914. 
Poetry  of  Tagore,  by  E.  J.  Brailsford.     Living  Age. 

May  16,  1914. 
Tagore  and  His  Model  School  at  Bolpur,  by  B.   K. 

Ray.     Independent.     Aug.  3,   1914. 
Tagore,  as  a  playwright,  issues  a  message  to  women. 

Current  Opinion.     May,  1914. 
Sadhana,  a  book  of  essays,  by  Tagore. 

WILLIAM  VAUGHN  MOODY 

For  Moody's  plays,  "The  Fire  Bringer,"  "The  Great 
Divide,"  "The  Faith  Healer,"  see  the  Introduction  by 
J.  M.  Manley  to  Poems  and  Poetic  Dramas  of  William 
Vaughn  Moody. 

THE  BLUE  BIRD  AND  MAURICE  MAETERLINCK 

Maurice  Maeterlinck,  by  E.  Gorse.  Encyclopedia  Britan- 
nica,  ed.  n,  v.  17,  pp.  298-299. 

How  America  welcomed  the  Blue  Bird.  Current  Liter- 
ature. Nov.  1910. 

Maurice  Maeterlinck,  a  dramatic  impressionist,  by 
Richard  Burton.  Atlantic  Monthly.  Nov.  1894. 

42 


Impressions    of    Maurice    Maeterlinck,    by    R.    Hovey. 

Poet  Lore.     May,  1895. 
Maurice     Maeterlinck's     methods     of     life     and     work. 

Living  Age.     Dec.  24,  1910. 
The  Blue  Bird.     Independent.    Apr.  8,  1909. 
The  Blue  Bird.     Nation.    Apr.  8,  1909. 
The  Blue  Bird.     Outlook.     Oct.  15,  1910. 
The  Blue  Bird.     Scribner's.     Dec.  1910. 
The  Blue  Bird,  by  W.  Winter.     Harper's  Weekly.    Oct. 

29,  1910. 
The  Blue  Bird.     Current  Literature.     Sept.  1909. 

JOHN    GALSWORTHY 

John  Galsworthy  as  a  dramatist.     Theatre.     May,  1909. 
John  Galsworthy's  plays,   a  review.     Athenaeum.     July 

17,  1909. 
John  Galsworthy's  plays,  a  review.     The  Nation.     Aug. 

19,  1909. 

Justice,  a  review.     Independent.     Oct.  27,  1910. 
Justice,  a  review.     Blackwood's   Magazine.     Apr.    1910. 

THE  PIPER 

Prize  at  Stratford,  1910.    Literary  Digest.    Apr.  9,  1910. 
Supernatural  plays,  by  C.  Hamilton.     Bookman.     Mar. 

1911. 
The    Playwright    of    the    Shakespeare    memorial   .play. 

Theatre.     Aug.   1910. 
Neglected    Step-child    of    the    modern    stage.  '•     Current 

Literature.    Oct.  1910. 

New  Theatre,  The  Piper.    Theatre.     Mar.  1911. 
The  Piper.     Outlook.    Feb.  11,  1911. 
The  Piper.     Nation.     Dec.  16,  1909. 
The  Piper  at  the  St.  James.    Academy.    Jan.  14,  1911. 
Stage  Fantasy  and  Realism.    Independent.    Feb.  23,  1911. 
Josephine    Preston    Peabody,    America's    dramatic    poet. 

New  England  Magazine.     May,  1910. 
Drift  toward  Fairyland,   Miss  Peabody's   Piper,   by  W. 

Winter.     Harper's  Weekly.     Feb.  18,  1911. 


43 


'   •  •    •        •  MARLOWE 

Greene.    Shorter  History  of  England.    Sec.  vii,  p.  429-30. 
Morley's  History  of  English  literature,  vol.  IX. 

For  Marlowe,  pp.  245-248. 

For  Greene,  pp.  215,  268. 

For  Lodge,  pp.  233,  237. 

For  Nash,  p.  267. 

For  Peele,  p.  209. 

For  Faust,  pp.  252-259. 
Encyclopaedia  Britannica. 

THEATERS  IN  THE  AGE  OF   MARLOWE 

Ordish,  T.  F.     Early  London  Theaters.    Macmillan.    $2. 

Stephenson,  H.  T.    Shakespeare's  London.     Holt.    $2. 

Wheatley,  H.  B.  The  Story  of  London.  Mediaeval 
Towns.  Macmillan.  $1.75.  One  of  the  best  books 
on  London  at.  the  time  of  the  historical  events  repre- 
sented in  the  study  of  "Marlowe." 

Hamilton,  H.  W.  William  Shakespeare,  Poet,  Dramatist 
and  Man.  Macmillan.  $2. 

HEROD  AND  STEPHEN  PHILLIPS 

Portraits  of  Phillips,  in 

Century.    Jan.  1901. 

Critic.    July,  1902. 

Independent.    Nov.  1902. 
Sketch  by  Edmund  Gosse.    Century,  1901. 
Stephen  Phillips  as  a  Writer  of  Tragedy,  by  F.  B.  R. 

Hellems.    Atlantic.     Dec.  1908. 
Review  of  the  book.     Nation.     Apr.  25,  1901. 
Review  of  the  play. 

Nation.    Nov.  29,  1900. 

Contemporary.    Jan.  1901. 

Collier's.    Dec.  4,  1909. 

Harper's  Weekly.    Jan.  5,  1901. 


List  of  Study  Outlines 

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Jane  Noble  Garrott.  Early  literature  to  Lowell,  with  a  pro- 
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Cornelia  Marvin.  Orators  and  statesmen,  Whitman,  Howells, 
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South,  middle  and  far  West,  essayists,  humor,  drama.  iop 

2$C. 

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for  the  Wisconsin  Library  Commission.  Ibsen,  Maeter- 
linck, Hauptmann,  Sudermann,  Echegaray,  Rostand,  Tche- 
koff,  Brieux,  Robertson,  Jones,  Pinero,  Phillips,  Shaw,  Gals- 
worthy, Yeats,  Gregory,  Synge,  Fitch.  List  of  plays,  most 
important  ones  starred.  Interpretative  notes  and  suggestive 
ideas  for  discussion  and  study.  I2p  25c. 

Contemporary  English  Literature.  Prepared  by  Prof. 
Arthur  Beatty  for  the  Wisconsin  Library  Commission. 
Swinburne,  Meredith,  Hardy,  Kipling,  Bridges,  Gissing, 
Conrad,  De  Morgan,  Wells,  Bennett,  Galsworthy,  Yeats, 
A.  C.  Benson,  Chesterton.  Noyes,  W.  W.  Gibson,  Masefield. 
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books  studied  with  interpretative  notes.  2ip  25c. 

Dietetics.  Programs  for  10  club  meetings.  The  study  is 
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Under  one  cover  with  "Home  Economics." 

England  and  Scotland:  History  and  Travel.  Prepared  by 
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historical  foundation  for  its  work.  Bibliography.  List  of 
additional  topics,  iop  25c. 

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vision, Agricultural  Extension  Department,  Purdue  Univer- 
sity. Programs  for  10  club  meetings.  The  study  is  based 
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Italian  Art:  A  General  Survey.  Prepared  for  the  Minne- 
sota Library  Commission.  Chronological  order  of  subjects 
6p  I5c. 

Mexico.  Prepared  by  Study  Club  Department,  Wisconsin 
Library  Commission.  2p.  To  be  used  in  the  same  year  with 
South  America  Past  and  Present  or  Panama.  Under  one 
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Municipal  Civics.  Prepared  by  Anna  L.  Guthrie.  A  topical 
outline  with  references  by  page  to  books  and  periodicals. 
Bibliography.  32p  25c. 

Panama.  Prepared  by  L.  E.  Stearns  for  the  Wisconsin 
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South  America.  K- ,  Topica1 

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United  States  since  the  Civil  War.  Prepared  by  C.  F 
Fanning.  Intended  for  clubs  studying  advanced  American  his 
tory  and  modern  problems.  Bibliography.  lop  250. 

OUTLINES  BASED  ON  THE  QUESTION  METHOD. 

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